Fraenk
Product placement, played openly -staged like cinema, delivered like a system.
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The Challenge
A CTV concept that demanded real cinematic staging: a fully built period world, one talent playing many roles, a look that had to be unmistakably 80s/90s. And at the same time: a modern asset stack - heroes, bumpers, cutdowns, CPAs, socials, influencer plates. In most productions, that’s a trade-off. Staging costs volume. Volume kills staging. That trade-off isn’t a creative problem - it’s an architecture problem.
The Orchestration
We built the architecture so the trade-off never happened. Every set was pre-visualized before build: fraenk yellow locked, period style locked, decisions made before the studio clock started running. Three sets on one stage, sequenced so styling and set dressing could switch roles without breaking the world.
And the setup carried more than one way of leading. Day one: director Arrigo Reuss staging the CTV spots — classic, cinematic, exactly what the concept needed. Day two: the agency’s creative lead stepped into the director’s chair, plugged straight into our running set infrastructure — shooting native social content, mobile-first, on iPhone. Two leadership models, two production logics, one system. From cinema camera to iPhone: the infrastructure carries whoever leads, however they shoot.
fraenk, charles&charlotte and fount.space worked as one integrated unit, end to end. Not the first time — this collaboration keeps coming back, because the system does.
The Output
25+ assets out of 1.5 shoot days. Three CTV hero spots, each with its full stack: bumpers, cutdowns, CPAs and social versions - plus green/bluescreen plates of Hazel Brugger for influencer content, ready for post. And on day two, the same unit switched logics entirely: native social assets, shot mobile-first on iPhone, inside the same built world. The campaign played “Schleichwerbung” so openly that the press wrote about the mechanics. Staged like cinema. Delivered like a system.
